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MINA International Mobile

5 Innovation
Screening 2015
th

19 November 2015

RMIT University, City Campus


SAB Building 80, Level 1, Room 2
445 Swanston Street, Melbourne
Australia

20 November 2015

Fed Square TV
Corner Swanston St & Flinders St
Melbourne, Australia

Sponsors
Te Rewa O Puang - School Music and
Creative Production
College of Creative Arts - Toi Rauwharangi
Massey University - Te Kuenga ki Purehuroa

Tickets

REGISTER:
www.rmit.edu.au
MINA
For more info go to www.mina.pro

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Foreword
The Screen Cultures research lab - part of the Centre
for Communication, Politics and Culture-is interested
in discovering, evaluating and interpreting the
changing world of screen-based cultures, in Australia
and internationally. Comprised of members who
have expertise in creative practice research as well
as traditional forms of research, we look at, we listen
to, and we make. One of our current themes is mobile
media practice - screen production 'on the go' - and
so we are pleased to be partnering with MINA for
this fifth year of screenings and academic papers.
We are particularly supportive of the way in which
MINA draws together international researchers and
practitioners who, together, can build the creative
and critical landscape of mobile media practice; this
sense of collective nurturing - of early career and
seasoned academics pushing new theoretical and
practical boundaries - is something we also pride
ourselves in. We welcome you to the event - and
to Melbourne, and to RMIT - and look forward to
looking at, listening to and making ideas with you.

Craig Batty

Screen Cultures Research Lab Leader

The School of Music and Creative Media Production


and The College of Creative Arts at Massey
University are pleased to have supported the
Mobile Innovation Network Australasia since its first
screening and symposium in 2011. During the last
four years MINA events have provided a platform for
creatives, producers, filmmakers, artists, designers
and researchers to explore and debate the impacts
of wireless, mobile and ubiquitous technologies
in a changing media, art and design environment.
With the upcoming #MINA2015 and #MINA2016
screenings and symposium in Melbourne, Australia,
MINA follows Masseys mission of bringing the best
of New Zealand Aotearoa to the world. The co-edited
book Mobile Media Making in an Age of Smartphones
demonstrates the great collaboration initiated
between Massey University and RMIT University.
The MINA DVDs, eBooks, and special journal
editions provides testiment of MINAs considerable
contribution to the arts and creative industries in
New Zealand and internationally. The School of Music
and Creative Media Production and The College of
Creative Arts at Massey University wishes this years
sympoisa every sucsess and looks forward to the
continuing evolution of the MINA initiative.

Associate Professor Andre Ktori

The Mobile Innovation Network


Australasia [MINA] is an
international network that
promotes cultural
and research activities to expand
the emerging possibilities of
mobile media. MINA aims to
explore the opportunities for
interaction between communities,
content and the creative industries
within the context of Australasia/
New Zealand and internationally.

Head of School.
Te Rewa o Puanga - School of Music and
Creative Media Production.
College of Creative Arts Toi Rauwharangi
Massey University, Wellington
Aotearoa - New Zealand

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Colab

MINA

Colab [www.colab.aut.ac.nz/] is the collaboratory for


Design and Creative Technologies at the Auckland
University of Technology (AUT), New Zealand . It aims
to encourage researchers, students and stakeholders
to imagine, construct, articulate and navigate rapidly
changing social, economic, technological and career
environments in various fields including mobile
technologies and locative media.

The Mobile Innovation Network Australasia [MINA]


aims to explore the possibilities of interaction
between people, content and the creative industries.
The International Mobile Innovation Screening
2015 will showcase short films produced on and
with smartphones, mobile, pocket cameras and
drones. The MINA International Mobile Innovation
Screening is hosted by the School of Media and
Communication (RMIT University, AUS), Screen
Cultures Lab and nonfiction Lab research groups in
Melbourne, Australia.

Over the last three years, we have partnered with


MINA to support New Zealand mobile innovations
and initiatives such as #mina2013, #mina2014, two
mobile themed editions of the Journal of Creative
Technologies (JCT), various mobile industry-based
project and recently the establishment of MINACOLAB, one of five specialist laboratories in -the
Faculty Labs Network within AUT [www.colab.aut.
ac.nz].
This year, we are particularly delighted to support
the Fifth International Mobile Creativity and Mobile
Innovation Symposium 2015, a new Australasia
partnership with MINA, The Faculty of Design and
Creative Technologies, Massey University and RMIT
University. Colab is pleased to extend and engage
with opportunities to collaborate with researchers,
organisational partners, creative-thinkers, and
entrepreneurs across New Zealand and Australia.

Associate Professor Frances Joseph


Co-director
Colab Creative Technologies Hub
Faculty of Design and Creative Technologies
Auckland University of Technology - New Zealand

The annual International Mobile Innovation Screening


and the Mobile Creativity and Mobile Innovation
Symposium have become widely recognised for
instigating debates within and beyond the fields of
media, art and design. In its fifth edition MINA is
continuing to grow as a network project between the
College of Creative Arts (Massey University, NZ), CoLab (AUT University, NZ) and now RMIT University.
During the last years MINA hosted a number of
screenings in Aotearoa and internationally, lead
workshops in mobile filmmaking and social media
distribution and produced mobile-mentaries (mobile
documentaries) and smartphone video projects.
Next to the creative practice featured on www.mina.
pro, MINA published special editions in Ubiquity the
Journal of Pervasive Media (Schleser 2014), Journal of
Creative Technology (Schleser 2014 and Antonczak
2015) and an edited collection Mobile Media Making
in an Age of Smartphones (Berry and Schleser 2014).

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Max Schleser
Over the last years MINA developed a close working
relationship with academics and practitioners
in Australia with particular focus on Melbourne
and RMIT University, School of Media and
Communication. Teaming up with theorists and
practitioners at RMIT University, MINA 2015 has
been organised collectively with the co-founders
Dr Max Schleser (Massey University) and Laurent
Antonczak (AUT University). The MINA network also
grew in terms of film submissions. The program
is more international than ever before and we are
excited to present the program at RMIT University
and at Federation Square. The screening program
has been coordinated and curated by Dr Max
Schleser (Massey University) and Dr Seth Keen (RMIT
University). We would like to use this opportunity
to thank Te Rewa O Puanga - School of Music and
Creative Media Production, College of Creative
Arts at Massey University and RMIT University for
their support and Dr Patrick Kelly and Dr Smiljana
Glisovic for their collaboration.
The films included in #MINA2015 were rigorously
selected through a peer review process. The
#MINA2015 screening will be available via DVD
and eBook and will provide an overview of the
developments in an exciting and fast moving field.
Mobile, smartphone and pocket camera filmmakings
impact on other disciplines within art, media and
design and also beyond the creative practice realm
are now recognisable.

Now its fifth edition the MINA International Mobile


Innovation Screening is more diverse, colourful
and provocative than ever before. Smartphone
filmmaking has become a recognisable feature
across the whole media landscape. Last year the
BBC started offering training courses for journalist
in mobile journalism (M.J). Smartphone filmmaking
and mobile media has become a regular feature
in broadcast news and Tangerine a smartphone
film production was the most talked about film at
Sundance Film Festival.
There are more than a dozen mobile, smartphone
and pocket film-festivals around the world and major
software companies producing non-linear editing
software such as Adobe, Apple and AVID launched
mobile and/or tablet versions for non-linear editing
software. Following the accessibility of video
production cameras, now post-production becomes
more accessible.
The beauty of mobile filmmaking is exposed through
the creative exploration of filmmaking and its break
from established rules and conventions. While mobile
camera phones were never intended for filmmaking
when they first appeared, filmmakers and creatives
defined the aesthetics and working practices.
The MINA International Mobile Innovation Screening
program features works from Australia, Aotearoa/
New Zealand, Germany, France, India, Iran, Japan
and the Philippines.
The mobile films capture spaces that are often
overlooked. The selected works reveal moments
of life, capturing the mundane in a poetic way
reminiscent of the essay film. Whether we are waiting
at a bus stop, in line or going through a car wash,
the smartphone is always with us. (Our thoughts in
these moments, which allow us to reflect upon the
current moment and life is captured using mobile
visual media.)

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Modern architectural and Japanese landscape


features are being used as inspiration for visual
compositions. Abstraction is used as a powerful
storytelling device. It allows audiences to experience
emotions and feelings that are difficult to describe
with words.
Some mobile moving-image works are driven
by aesthetic explorations using time-lapse,
Kaleidoscopes or dioramas as inspiration. Messages
are personal, intimate and immediate. Some of
these works are reflections on life and others on
art and culture. Their meanings are powerful as
we can connect to the thoughts of the filmmakers.
Some works tackle social problems through a strong
statement while others allow us to understand
situations of people and their lives.
Access to smartphone technology means that more
video work is now surfacing out of countries beyond
the western screen. This years MINA submissions,
more than in the last four years together were more
international than ever before. Most submissions
were received from the USA, followed by Iran and
India. We are excited about these opportunities and
welcomeing new filmmakers from all over the world
to the MINA community.
The next generation of filmmakers will utilise
the mobile device according to their own ideals
and agendas. Mobile filmmaking is engaged in a
constant innovation process that is influenced by
multiple vectors. It is emerging as a field with its own
aesthetic qualities.

Smartphone filmmaking has


become a recognisable feature
across the whole mediascape.
Max Schleser

Seth Keen
I was excited by the opportunity to share the curation
of the MINA 2015 screening with Max this year and
stage the event at RMIT University in Melbourne.
Interested in developments occurring around new
media video practices led me to this collaboration
with MINA. My previous experience of collaborating
with the Institute of Network Cultures in Amsterdam
on the facilitation of the Video Vortex conference
series, a critical forum on online video, also drew me
into this initiative.
Inspired by what MINA has contributed towards
the development of discourse and practice on
mobile filmmaking, in the last few years I have been
teaching a practice-based Mobile Videography
media studio. In this studio, I have been working
with students on the expansion of video practices
that draw from new media rather than film and
television. The aim is to evolve mobile filmmaking
beyond the well established short film paradigm,
based mainly on fiction. In this studio we explore
how the affordances of smartphone as a device with
an operating system, connected to the network can
be used to inform the creation of video works. I am
interested in how we use smartphones to record
and edit video content in comparison to other
video recording devices that do not have the same
connection to computers and the network.
In the last couple years I have seen mobile filmmaking
shift towards practices that draw from fiction,
nonfiction and experimental modes of filmmaking,
with new media technologies and practices mixed
in to create hybrid outcomes. Many of the works in

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I have seen mobile filmmaking shift towards practices that draw from
fiction, nonfiction and experimental modes of filmmaking, with new
media technologies and practices mixed in to create hybrid outcomes.
Dr Seth Keen

this screening have connections with the everyday


and are influenced by the increasing development
of non-professional practices associated with the
Internet and social media in that environment. With
the technical capability of video developing each
year on smartphones more people both professional
and non-professional are becoming aware of the
significance of having a portable, high resolution
video camera in their pocket, connected to the
network 24/7.
Looking closely at the selected works this year,
there are some distinct themes emerging around
how a video camera on a smartphone is used to
produce content. There is the continuation of the
fiction based short film, with producers adding
hardware accessories to the smartphone to achieve
many of the stylistic techniques seen on cinema
screens. An expanding theme is the increasing use
of smartphones to create non-fiction works. Many
of these non-fiction works have connections with
the personal, reflecting daily activities and journeys
from one place to another. The mobile-mentary
features amongst these works with people using
smartphones to experiment with the documentary
form. Working with the affordances of the device they
work in close, use narration and other techniques to
get around the sound limitations of a smartphone.
Self-reflexive in some cases, the creators integrate
themselves into the mobile-mentary as part of
developing a documentary style that works with the
characteristics of a smartphone as a personal device.

Working from new media practices, there is reflective


experimentation happening around the capture of
the interface and what is actually taking place on the
smartphone as it is being used. I propose as screen
capture technologies become more sophisticated
that this technique will be used more widely and is
part of capturing the social exchanges that occur
online. Another non-fiction approach is what I would
describe as a type of photographic videography,
with practitioners integrating the immediacy of
a point-and-shoot device with the time-based
potential of video. The portability of a smartphone
and it always being available to record anytime,
anywhere, is utilised to document aesthetic, social
and often political occurrences on the street.
Experimental mobile filmmaking is another
significant theme that is gravitating towards new
media practices and technologies to explore new
techniques and forms. There is a growing number of
works that are beginning to move away from video
editing and effects software on desktop computers
to mobile apps. These works are being recorded and
produced entirely on a smartphone.
A noted feature across several works in relation to
stylistic attributes that become synonymous with
recording video on smartphones, is the use of the
vertical frame, video in a portrait form. This vertical
video has links with using screen capture technologies
to record the smartphone interface. In the future, I
expect other distinct stylistic characteristics and
practices will emerge as mobile filmmaking becomes
more defined by new media practices.

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MINA Team
MINA CO-FOUNDERS

Marcelo Godoy

Karl Kane

Aryan Kaganof

David Scott Leibowitz

Massey University, New Zealand

Dean Keep

Krefer

MINA 2015 ORGANISING


COMMITTEE

Dr Patrick Kelly

Laurent Antonczak

Brazil

Dr Max Schleser

South Africa

COLAB - AUT University, New Zealand

Laurent Antonczak

COLAB - AUT University

Dr Marsha Berry

RMIT University, Australia

Dr Smiljana Glisovic
RMIT University

Dr Seth Keen

RMIT University

Dr Patrick Kelly
RMIT University

Dr Max Schleser

Massey University

SCREENING PROGRAMME 2015


Coordination and curation by

Dr Max Schleser

Massey University

Dr Seth Keen

Swinburne University of Technology,


Australia
RMIT University

Massey University
Mobile Artist, USA
Brazil

SYMPOSIUM PROGRAMME 2015


Coordinated by

Anne Massoni

Laurent Antonczak

MissPixels Isabelle

Dr Marsha Berry

Canada

RMIT University

Dr Stefano Odorico

SYMPOSIUM COMMITTEE

UAP, USA

Leeds Trinity University, England

Razlan Rashid

Malaysia / University of Sussex, UK

Alette Schoon

Rhodes University, South Africa

Daniel Wagner

Unitec, New Zealand

Dr Gavin Wilson
UK

Andrew B White

USA / New Zealand

RMIT University

Gaby David

SCREENING REVIEW COMMITTEE

Perla Carrillo

France

AUT University

Felipe Cardona

Pontifical Xavierian University,


Colombia

Assoc. Prof. Daniel CermakSassenrath


IT University, Denmark

Dr Thom Cochrane
AUT University

Dr Ocane Delleaux

Universit de Haute-Alsace, France

Assoc. Prof. Craig H Hight

University of Waikato, New Zealand

Prof. Larissa Hjorth


RMIT University

Laurent Antonczak

Mexico

Dr Camille Baker

Maringa State University and


Unicesumar, Brazil

Prof. Desna Jury

Chrystle Bazin

Agnieszka Komorowska

Helen Keegan

Dr Marsha Berry

Daniel Florencio

Dr Daniel Binns

Jill Daniels

Associate Professor Gerda Cammaer

Karen Curely

Felipe Cardona

Dan Czerwonka

COLAB - AUT University


UCA, UK
FR

RMIT University
RMIT University

Ryerson University, Canada

Tiago Franklin

Germany

Filmmaker, Brazil / UK
University of East London, UK
Interaction Designer, Ireland

Ontifical Xavierian University,


Colombia

Filmmaker, USA

Associate Professor Daniel CermakSassenrath

Loughborough University, UK

ITU, Denmark

Columbia

Matthijs Clasener

Nica Junker

Grafisch Lyceum Rotterdam,


Netherlands

Marco Bohr

Alejandro Jaramillo

Photographer/Filmmaker

Assoc. Prof. Frances Joseph


AUT University
AUT University

Salford University, England

Dr Seth Keen

RMIT University

Dr Patrick Kelly
RMIT University

Assoc. Prof. Andre Ktori


Massey University

Dr Mark Mcguire

University of Otago

Dr Dermott McMeel

University of Auckland, New Zealand

Dr David Parsons
Massey University

Dr Max Schleser

Massey University

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Assoc. Prof. Charles Walker


AUT University

KEYNOTE SPEAKER

RMIT University

SYMPOSIUM TECH AND AV


SUPPORT

EVENT DOCUMENTATION
Sabine Gabriela Fritsch

Insight Systems
SYMPOSIUM COMMUNICATIONS &
MARKETING

Nicholas Lucas

RMIT University

Aleng Joses

RMIT University

Wendy Little

RMIT University

Anurit Patwardhan
Fransedes Suni
Sabine Gabriela Fritsch
Cinq Group

Dr Patrick Kelly

University of Waikato

COLAB - AUT University

SPECIAL THANKS TO

Pearson and Murphy


VIDEO EDITOR

Assoc. Prof. Craig A Hight

Harry Silver

CATERING

MINA 2015 VISUAL


COMMUNICATION
Alexandra Turner

www.behance.net/alexandraturner

Nicholas Lucas

RMIT University

Ben Bucknall

RMIT University

Mariana Velo

RMIT University

MINA Partners
Virtuo (NZ)

International Mobil Film Festival

Transmedia

Mobile Film Festival

Fed Square

Pocket Films

iPhone film festival

IdN

MINA 5th Mobile Creativity and Mobile Innovation Screening 2015

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In Perspective
Order
-------------

Title / Time / Filmmaker / Country

Filmmaker

1.

Us Stop / 2.35 / Julien Tatham / FRANCE | BELGIUM

2.

Hopeless / 2.00 / Ligia Ramos / FRANCE

3.

Betnon Brut / 2.52 / David Cowlard / NEW ZEALAND

4.

Dog Tail / 3.59 / Swathy Deepak / INDIA

5.

The Life and Death of the iPhone / 5.00 / Paul Trillo / USA

6.

The Belief / 2.49 / Ali Reza Salmanpour / IRAN

7.

Sakura Yama / 1.53 / Bobie (Yves Bommenel) / FRANCE | JAPAN

8.

Most of Space is Dirt / 2.11 / Daniel Boobyer / NEW ZEALAND

9.

What he saw / 3.24 / Nikko P. Dajao / PHILIPPINES

10.

2 min 2 hours / 2.17 / Gwendoline Rippe / FRANCE

11.

ANA / 1.35 / Nika Vahi / CROATIA

12.

Gasp / 3.32 / Anna Jones / AUSTRALIA

13.

Mobile Narratives / 3.32 / Carey Scheer / AUSTRALIA

14.

In Response We Closed Flinders / 3.17 / Alex Dick / AUSTRALIA

15.

An ode to John Smith / 2.35 / Smiljana Glisovic / AUSTRALIA

16.

The Q / 7.08 / Leo Berkeley / AUSTRALIA

17.

Hyperlapse Workday / 2.18 / Felipe Cardona / COLUMBIA

18.

Street Talking / 3.00 / Meg Mappin / AUSTRALIA

19. Elements / 1.17 / Mallika Worboys / NEW ZEALAND


20.

In the Heart of the Kaleidoscope / 2.34 / Vanessa Vox / FRANCE

21.

Instability of the digital mind / 2.17 / Nadine Benichou / FRANCE

22.

Sampling Swallows / 2.52 / Seth Keen / AUSTRALIA

23.

Diorama / 5.00 / Patrick Kelly / AUSTRALIA

24.

RPM 2 / 2.00 / Ryan Fox / USA

25.

Pacific Colours / 2.49 / Max Schleser / TONGA | NEW ZEALAND

26.
-------------

I Another / 3.00 / Jim Thompson / GERMANY | AUSTRALIA

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Us Stop

Julien Tatham

Moments of life, people are


waiting for the bus. By adopting a
shift position, I depict the hidden
poetry in the details and reveal
the extra-ordinary of the ordinary
through the different layers of
our reality. This movie is related
to a photographic work I made
between 2014 and 2015, where
I was inspired by anonymity
and public waiting areas.
Belgium, Brussels / Ipod touch / iMovie
Sound composed by Julien Tatham
with the resources of FreeSound.
org - Creative Commons 0 - erokia
club-sound squareal trebblofang
thefilmbakery evanjones4
alienistcog unclesigmund

HOPELESS
Ligia Ramos

A man has chosen a high


building as the setting for his
final act. Hopeless takes his
point of view through a maze of
overlapping paths, producing a
visual construction of his mental
confusion. Once we arrive on
the rooftop, the city does not
look friendly and a single output
draws itself in front of us. With
a GoPro device, the film falls all
the way down to the grass.
Paris, France / GoPro Hero 3 /
Premiere, After Effects, Audition

Bton Brut
David Cowlard

Bton brut takes a meditative


look at a fragment of brutalist
urban fabric in Auckland, New
Zealand. The term Bton brut
means raw concrete and came
to be associated with the
architectural style of Brutalism
from the 1950s onwards. Defined
by the use of shuttered concrete,
buildings constructed in this raw
manner draw opinion from both
extremes; some love it, some
hate it. In this film, the University
of Aucklands Maidment Theatre,
designed by the architectural
practice Warren & Mahoney and
completed in 1976, becomes the
focus for a play of light and time
underscored by a tense mix of
ambient and electronic sounds.
Auckland, New Zealand / iPhone
5 / native Camera App/ Edited
in Adobe Premiere CC 2015
Additional sound and music: ystein
Jrgensen and Anthony Donovan
The music / track Duchamp Ready
Meal is available under a Creative
Commons (CC BY-NC-SA 3.0) Licence.

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Dog Tail
Swathy Deepak

We used an old Indian Hindi


phrase that says "kutte ki
dum kabhi seedhi nahi hoti",
that means the dog tail never
straightens metaphorically
saying some things never change
because of their conditions.
In Dog Tail we show a chase
between a pick pocketer
and a passenger. At the end
his house is revealed where
we see a very poor lifestyle
condition of his family and his
kids. The passenger notices the
environment, pities the man
and gives him money and leaves
without any further conversation.
The last shot we see the pick
pocketer back in the business as
that is how his earnings happen.
Ahmedabad, Gujarat, INDIA/
iPhone 6 / One Plus One / Adobe
Premier pro / Adobe after effects
/ Adobe photoshop / Fl studio

The Life and Death of the


iPhone

Belief
Ali Reza Salmanpour

Paul Trillo

"The Life and Death of an iPhone"


follows the entire life span of a
phone in POV from its creation
in a factory into the hands of a
New York through its death and
eventual rebirth. A look at what
we look like to our phones. The
short was both shot and edited
on the iPhone.
New York, USA / Filmic Pro / Cameo

Ali Reza Salmanpour Born


in 1982 Iran Tabriz. I started
filmmaking in 1999. I have
directed 15 short films and I
have many awards from Iranian
and international film festivals.
Urmie Late, Iran / Sony Xperia

/13

What He Saw

Sakura Yama

Most of Space is Dirt

Yves Bommenel

Daniel Boobyer

Nikko Dajao

This filmpoem is inspired by my


flowered journey in Japan in April
2014. Hanami means to watch
and admire the flowers. It's what I
did. Fujiyama is also a big symbol
in Japanese culture, something
beautiful and sacred. As a
filmpoem maker, I do everything:
I write the text, I compose and
play the score and I shoot the
images and make the movie. This
videopoem is the translation of
my feelings and thanks for this
beauty, this peaceful happiness.
Welcome on board and enjoy the
trip like I did. Shot in Japan by a
French videopoet, read in English
by a US softwares voice, Sakura
Yama is an international filmpoem
screened in France, USA, Ukrain,
Greece and now Australia

This film documents the event


of going through a car wash,
it is also a music video. Going
through the car wash was like a
ride at an amusement park, at
the time it felt surreal. I had my
phone right in front of me, so I
filmed. After watching the film
I realised that what the camera
was seeing was quite different
to what I saw. The footage being
cropped close up and with the
extremity of the car wash in
action, the simple documented
video was more a kin to an
expressive painting or animation.

The story revolves around the


viewpoint of a blind man who
appreciated the beauty of nature
through the eyes of his mother
when he was still a child and
bears witness to the changes of
Mother Earth. Getting old, he
went begging on the busy street
of the city dressed in soiled and
tattered clothing. He was blind
but he was the one who saw
everything using his other senses.

Tokyo, Kyoto, Osaka, Kobe, Nara /


Samsung S4 / Final Cut / NoteBeat
/ MorphWiz / Garage Band

Kilbirnie (WGTN, NZ) / Sony


Xperia E1 / Final Cut X

Busay, Lahug, Cebu City,


Philippines / MYPHONE A919i
Music: Delicate Feelings
by videoblocks.com

/14

ANA
Nika Vahi

A different perspective on a life


of a teenage girl struggling with
anorexia and mental illness.
Croatia

2 hours in 2 minutes

image manipulation offered by


some emerging mobile video
applications in order to focus
on the storytelling process.

Gwendoline Rippe

This work has been made


during my master CAWEB at the
Strasbourg University (France).
The exercise was to shoot with a
mobilephone, and edit a 2 minute
long movie, about 2 hours of our
dailylife. I decided to talk about
my Saturday morning when my
father took me for driving lessons.
I took the artist path to stage
this movie through the prism
of a circle to make reference to
time loop of daily life. See more
about this work on my blog :
gwendolinerippe.wordpress.com
Lyon city, France / iPhone 5C
/ Adobe Premiere CS6

Gasp
Anna Jones

GASP is a short documentary


shot on a mobile phone, in which
a young Melbourne woman
relives the moment she received
a call advising she had been
diagnosed with a life threatening
illness. As she talks through
the crisis into which her life was
thrown, jellyfish floating at sea
visually represent her turmoil.
The piece takes a stripped down
approach to smartphone video
recording, eschewing the obvious

This work is a result of an iterative


exploration of the portability
affordance of the mobile phone.
The film explores how the uptake
of mobile devices has brought
the most private of conversations
into the public sphere, and the
power of storytelling to transport
us into different times and
places, and inside experiences
we have never known. Portability
is also explored through
the recording process itself,
with the manoeuvrability of
the smartphone device a
key instrument in allowing
the capture of the visuals
used throughout.
Melbourne, Australia / iPhone
6 / Zoom H4N / iPhone 6 inbuilt
slomo camera app / Adobe
Premiere Pro / Adobe After Effects
/ Adobe Audition, Neat Video.

/15

Mobile Narratives

In Response We Closed Flinders

Carey Scheer

Alex Dick

Mobile Narratives is about exploring the


invisible inner world that is going on in the
mind of the phone user. It is a common sight
to see people in public, sitting, standing or
walking in silence with their eyes glued to
their phone. This film is about tapping into the
thoughts and emotions running through the
phone users head that is anything but silent.

Rallies were held in the City of Melbourne against


the current Australian governments plans to
close indigenous communities and whether
you support the cause or not it was surely an
electric atmosphere. It caught my attention. It
was surely something that had to be captured.
Lucky I had my mobile phone at hand

The film also looks at the miscommunication


that occurs through the phone, as text messages
can be read in many different ways, depending
on the mood of the person receiving the
text. The text message sender does not know
how the receiver will interpret their text.
This work intends to get people to think about
mobile phone communication in a new light. This
film shows the creation and then dismantling of
a narrative that the main character created while
communicating through her phone. These text
messages could have been sent while she was
on the bus, the tram, walking down the street or
sitting in a caf full of strangers absorbed in their
own invisible narratives fostered by their mobile
phone. While the audience for this film gets to
share in the main characters narrative, neither the
audience or the main character get to see into the
invisible narrative her love interest is also creating.

I stumbled across this rally on the way to work,


having seen a Facebook post about it on my
phone. This work aims to bring the audience into
my experience. It is not a political comment, but
a document of the day. It plays on the ubiquity of
the mobile phone, a less discreet camera is not as
welcomed in the face of a policeman or protester. A
phone in my pocket with the microphone recording
sounds can act as a discreet way to get up close to
the subjects without creating inhibitions. A mobile
is able to hide in the crowd, and give a unique
perspective from the point of view of the person
holding it. The images presented bring you to
the level of observer, and the soundtrack plays on
the incoherency and confusion of being in a large
crowd where nothing is at the forefront, but the
barrage of colour and sound becomes the focus.
The use of SloMo helps put some of the more
surreal moments under the microscope, bringing
you further into my experience of the event.
Flinders Street Station, Melbourne / iPhone 6 /
MacBook Pro / IPhone 6 Camera SloMo / iPhone 6
Voice Memos / AirServer / Quicktime / Premiere,
Facebook iPhone Messages / After Effects

/16

An Ode to John Smith

The Q

Smiljana Glisovic

Leo Berkeley

The images that make up this very small film are


whimsical plays of light and wind. It is a kind of act
in ekphrasis, as it describes an imagined work, not
yet made, which quantifies the magnitude of war.
The filmmaker wants to determine the dimensions of
war, to show: this is how big it is, this is its weight; so
that it might be felt in the body. What is the weight
of a film as object?

The Q is a short essay film about standing in


queues and what we think about as we wait in
line. We queue for food, we queue for tickets,
we queue on foot, in cars and online. Why do
we queue, how do we feel about it and what
happens when people break the unspoken
rules? The qualities of patience, consideration
and respect for order that queuing reflects are
widely valued in society but should they always
be observed? The film contrasts the sort of
controlled social behaviour displayed in queues
with the randomness and incoherence of everyday
thoughts. We usually control our impulses waiting
to get in at department store sales but can we
say the same thing about our minds as we stare
at the line ahead? The Q continues a focus by
the filmmaker on short personal documentaries
that examine aspects of daily life, often
exploring the balance in our social and personal
lives between forces of chaos and control.

Recording the small and everyday is now very


much a practice made possible with the mobile
phone, but it is also a practice with a history. The
film alludes to this history, Most explicitly to the
practices of Jonas Mekas and John Smith. Both of
these filmmakers make small and personal films hat
often give way to big conceptual, political and social
pursuits. My own film takes this as its concern! The
question of scale, big and small films, big and small
topics, big and small audiences. What can a small
mobile film do about making the magnitude of war
felt in the body?
Melbourne, Australia and Thailand / iPhone 5 / Final Cut
Pro

Melbourne, Australia / iPhone 4S / Final


Cut Pro X / Adobe After Effects

/17

Hyperlapse Workday

Street Talking

Felipe Cardona

Meg Mappin

A mobilementary made using


Hyperlapse, Garageband and
Pinnacle Studio apps. 2014.

This mobile-mentary is shot


entirely with an iPhone 5 on
Swanston Street in the heart of
the city of Melbourne. I used
the portability and accessibility
of a smartphone to talk with
the people who work on this
busy and lively street. I wanted
to explore the world of these
vendors, performers and artists
who engage and entertain
the daily stream of tourists,
shoppers and commuters
passing by. The smartphone as
an unobtrusive conversationrecording device encourages
reflexive filmmaking and provides
the opportunity for an informal
conversation with participants.

Melbourne, Australia / iPhone 4S /


Final Cut Pro X / Adobe After Effects

Melbourne, Australia /
iPhone 5 / Premiere Pro

Elements
Mallika Worboys

Elements is a short experimental


poetry film which takes
advantage of the TimeLapse
feature on an Apple Ipad 2. It
combines scenes of the natural
elements (plants, sky, wood,
fire, stones and sea) with people
reading the poem "Elements".
The poem, which was written
specifically for this film, is
composed of descriptive words
that we use to make sense of and
label the elements that surround
us. It is a short film exploring
the relationship between
humans and the natural world.
Wellington, New Zealand / Apple
Ipad 2 / Adobe Premier Pro

/18

In the Heart of the Kaleidoscope

Instability of the Digital Mind

Vanessa Vox

Nadine Benichou

'In the Heart of the Kaleidoscope' (2'25,


HD1080p) is a freaky experimental short
mobile movie. The viewer immerses in the
inside perspective of a kaleidoscope. In the
heart of this surreal and fragmented world an
abundance of seemingly abstract and permanent
transforming images are pulsating on the
groove of Orlando Bay's music 'Dark Bit Flow'
which is exclusively created for this project.

We have created an over complex world,


that feeds us daily with a massive flow of
information. Our digital tools help us to
worship values of speed, efficiency and
profitability We lose track of biological
rhythms and live in an almost virtual world.

The fleshcoloured images are not an endoscopy.


No, we are looking at a deconstructed performance
of the filmmaker Vanessa Vox who was dancing
in the front of her iPod. Some fingers, hands,
eyes, teeth, ears, thin braids shortly appear but
remain trapped in the world of mirrored patterns.
They shape a playful floating choreography.
The film was shot with the application
'VideoFXLive' and afterwards edited on an
iPad with 'iMovie'. It is Vox's 55th mobile movie
experiment since the beginning of 2014.
Taulignan, France / iPod5 / VideoFXLive / iMovie
Music: Orlando Bay

Obviously, our minds cannot cope. We lose


our concentration, our memory, our neurons
connections change... Mental diseases, as well as
degenerative brain disorders proliferate: burn out,
bipolarity, schizophrenia, Alzheimer, Parkinson
As if our minds had become unstable and
unpredictable, like the climate. This micro
experimental movie is about mind glitches and
dissolution. It features humans (or is it already
cyborgs?) encountering mental bugs.
Paris, France / iPhone 5S and 6 / Oggl / Union,
Decim8 / iColorama / Glitch Wizard / SplitPlay
/ Cute Cut / Dictaphone / Garage Band

/19

Sampling Swallows

Diaorama

RPM 2

Dr Seth Keen

Dr Patrick Kelly

Ryan Fox

Interested in how mobile


videography might be guided
by new media rather than
television and film practices. In
this experimental video I attempt
to record the spirited flying of
a flock of swallows, in the late
afternoon light at a beach near
Melbourne. Screencast techniques
were used to capture the interface
and present the varying shots
recorded. Utilising the affordances
of a smartphone the aim was to
produce a work that reflected
on the recording process.

Images have always established


connections with memory, time,
and place for a viewer. Louis
Daguerres diorama, developed
in 1822 just prior to the advent
of photography, displayed a
painted representation of an
image (usually a landscape),
which utilised changing light
and transparency of the
painted surface. Audiences
were captivated with the slowly
transformed canvas for periods
of around 15 minutes, during
which time they marvelled at
the changing light conditions
that illuminated the front and
back of the translucent canvas.

A hypnotic and mesmerizing


mobile camera experiment
utilizing the revolutions of a car
wheel.

Inverloch, Victoria, Australia / iPhone


6 / QuickTime / Final Cut Pro

Responding to the work of Henri


Bergson in relation to philosophies
of duration and, in particular, the
concept of time as a medium for
both manipulation and erasure
in post-production, Diorama
#01 combines image-making
practices with 2D animation to
produce a work that forces the
viewer to confront notions of
reality, memory, time, and place.
Tyrendarra, Victoria / iPhone
6 / After Effects

Milwaukee, Wisconsin, USA / GoPro

/20

Pacific Colours

I-Another

Dr Max Schleser

Jim Thompson

Pacific Colours celebrates everyday life. This mobile


moving image project was filmed and edited on a
smartphone. Displayed on an iPad, the video aims
to prove an inspiration towards mobile moving
practice. With our smartphones, mobile devices
and pocket cameras we can all be virtually pop
stars finding our audience on social and networked
media. Pacific Colours displays the vivid colour
the Pacific Island Tonga. The video was edited on
location and aims to communicate the experience
of being in a Polynesian environment. In order to
capture the mobile filmmakers experience and
moment of its recording, the abstract kaleidoscope
was chosen. Pacific Colours shares this moment with
its audience.

I-Another is a poetic rendering of seeing and


talking to each other over a long distance through
the mobile phone. A series of random recordings
were compiled and edited using a cut-upmethod;
decisions in editing were essentially random.
The method is in order to search for interesting
juxtapositions, interrogate images and discover
new interpretations through an edit. Footage was
recorded and shared between Melbourne and
Berlin and edits passed back and forth purely
through smart phone technology. Though the
final product was realized on Premiere Pro, the
essential ingredients, including the editing style,
were put together on Adobe Premiere Clip, Video
Toolbox and Splice video editing applications for
smartphones.

Tonga / Sony Xperia / KineMaster app /MediaConveter app


Music: JovanV Flatwound

Berlin, Germany / Melbourne, Australia / iPhone 5 / Adobe


Premiere Pro 2014 CC / Adobe Premiere Clip 1.2.0 / Splice /
Video Editor Path 36 LLC / Video Toolbox YU BO
Ariel by Moby licensed by mobygratis.com

/21

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/23
MINA/23
/23

Presenters and Networks


Worldwide Locations

/24

International Mobile Film Festival in San Diego


presents

www.SanDiegoMobileFilmSchool.com

Opportunities & resources for the


Mobile Filmmaker around the world!

Learn how to shoot great videos with your mobile phone and
submit your mobile film to the International Mobil Film
Festival in San Diego!

OPEN CALL FOR MOBILE FILMS:


Deadline December 19, 2015

www.InternationalMobileFilmFestival.com
2015 S. Botello Productions All rights reserved.

/NOTES

WI-FI

NETWORK NAME: X80366


PASSWORD: rmit.1234

/NOTES

/NOTES

Sponsors
Te Rewa O Puang - School Music and
Creative Production
College of Creative Arts - Toi Rauwharangi
Massey University - Te Kuenga ki Purehuroa

Tickets

REGISTER:
www.rmit.edu.au
MINA
For more info go to www.mina.pro

ISBN 978-0-473-33817-6